Charles Wesley and the Struggle for Methodist Identity

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Forgot your username? Enter your email address below and we will send you your username. Another related issue is that the enthusiastic singing of simple songs with a beat usually leads to an enhanced emotional atmosphere, and there was for many people a discomfort with overt emotionalism, and fear of spiritual manipulation.

I can understand this, but the result has been in many quarters of Methodism a fear of emotions in general, and in my experience a lowering of the emotional temperature which has for other people made traditional free church worship seem emotionally somewhat stale. Most of those had a conservative evangelical theology.

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There was there a critical mass of young people and a culture where they could feel at home. Many of them were children of church members and it was a painful time. The church itself never recovered and twenty five years later is on the verge of closure. Still today, the sort of Christian music you engage with implies a theological identity. Recently, knowing that the church where I was going to preach had an excellent worship band available, I chose to open a service with a series of three worship songs from Singing the Faith, and included another coupe of worship songs later in the service, as well as two more traditional hymns.

Part of the work of the Singing the Faith committee, has been to challenge this; to try and say all of this material, across genres, can belong to the whole church, while recognising that some churches will for reasons of age, and musical background and ability, be more comfortable with some items than others. I have to confess to finding it strange that there still seem to be so many people in Methodism who struggle with guitars and drums.

For anyone born after their key years of gaining musical identity were after , when Rock and Roll was at the centre of youth culture. Is everyone under 75 in our churches an odd bod like me who did not relate particularly closely to the main youth culture of my own day? Or is it because it is deemed to imply an identity, social and theological that does not fit with whatever is a Methodist identity? Even if Methodist young people through the s, 60s and early 70s, were finding a culture based on popular music outside church, the church musical culture they grew up with would have been rooted in the hymnody of the Methodist Hymn Book, and a common knowledge of at least a proportion of that traditional hymnody is still I suspect a key aspect of Methodist identity for those over 60, which is the majority of Methodists , but also one that divides us from others.

An example of this from my own experience comes from when I attended a gathering of presidents and secretaries of Methodist University Societies as President of the Cambridge Methsoc in , at Selly Oak Methodist Church. There were probably about 60 students present from all around the country.

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Gradually more and more people joined in until most of the participants at the conference were there. As each hymn finished someone would call out a number usually without looking it up , and we would sing the next one. It went on for an hour or so and finished with a sharing of the Peace. This unplanned hymn-sing was for many people the highlight of the weekend, and a deeply spiritual experience for us all. It shows how in for student Methodists traditional hymns were still well-known and a staple of their spiritual diet.

I suspect that marked the end of an era. Going to a Methsoc reunion only two or three years later and worshipping with the next generation of students, I was conscious that the musical diet was already changing radically. We will return to some of the implications of this in Chapter 5.

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The challenge that Methodism faces as it declines and realises that its cultural expression is increasingly becoming ghettoised is how it now deals with its musical tradition. It may be that we believe there are things of infinite value in our tradition of singing together that we need to find ways of building on that are different from simply adopting worship songs led by an amplified band as our main diet.

I personally have a lot of sympathy for that, and that thinking was behind many of the choices for Singing the Faith. However, I do find worship songs done well, inspiring and helpful on occasion, and there is no doubt that the churches that still attract young people are more likely to use a worship band than an organ for their music.

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Beck's new book, Methodist Heritage and Identity, a collection of essays. In the struggle for Methodist identity, Charles Wesley led the losing side.

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The history of that struggle was written by the victors and their heirs, and he still. This course focuses on the doctrines that make Methodists. There are two things I would like to say about the importance of United Methodist identity in a global church. Both of them are pretty obvious. Our school's ethos is based on Christian principles and the Methodist principle of "for all" is reflected in Our Methodist identity today by Reverend Les Nevin.